Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kyrgyzstan and from Halifax.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Marc Almond to the rap kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Blancmange. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Lizzy Mercier Descloux,
Matthew Halsall,
Echo & the Bunnymen,
Moss Icon,
Sad Lovers and Giants,
Lalo Schifrin,
The American Breed,
Livin' Joy,
Qualms,
Mantronix,
Colin Newman,
T. Rex,
Yaz,
Brass Construction,
John Holt,
Pantytec,
EPMD,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rowland S Howard / Lydia Lunch,
Dave Gahan,
Thee Headcoats,
Lou Reed & John Cale,
Moby Grape,
Drive Like Jehu,
Flamin' Groovies,
Young Marble Giants,
Stereo Dub,
The Fuzztones,
Tears for Fears,
James White and The Blacks,
Bootsy's Rubber Band,
Terry Callier,
Cluster,
The Walker Brothers,
Boz Scaggs,
Crispian St. Peters,
Sonny Sharrock,
Warren Ellis,
The Cosmic Jokers,
Q65,
Basic Channel,
Bronski Beat,
Interpol,
X-101,
The Kinks,
Electric Light Orchestra,
Lyres,
Wolf Eyes,
Larry & the Blue Notes,
X-102,
Vaughan Mason & Crew,
Royal Trux,
The Sonics,
Deadbeat,
Janne Schatter,
The Men They Couldn't Hang,
Ten City,
The Fall,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.